200'

Luke the type to tie a blanket or towel around your shoulders like a cape when you’re mad at him and say “now you’re super mad”

There are just ten days left to experience the powerful works in “Represent: 200 Years of African American Art”—the exhibition closes April 5.

Untitled (I’m Turning Into a Specter before Your Very Eyes and I’m Going to Haunt You),” 1992, by Glenn Ligon

Everyone says this, but I have to be perfectly honest.  I never, ever, in a million years thought I’d get more than like, 50 followers, let alone 200+.  All of you mean so much to me, and I am forever grateful that you took the time to click that little follow button.  Much love to all of my followers <3 <3 <3

Before I go into the bulk of my follow forever, there’s one person I just have to single out.  This individual has been my rock, my best friend, and my most trusted confidante for the past nineteen years, and I couldn’t love her any more than I already do.  mrskohaku is more than just my sister, she’s my closest friend and I have to say that Faefae, I will love you forever <3  You’re the best <3333333333333333

(didn’t realize how long this got so the rest is under a read more lol)

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Represent: Interactive by Li Sumpter

Inside the Represent Catalogue | Outside the Door

In her essay “Outside the Door” in the “Represent: 200 Years of African American Artcatalogue, consulting curator Gwendolyn DuBois Shaw writes:

“Historically, it has been difficult for artists of African descent who are self-taught or who work in unconventional modes to receive recognition for their work from the mainstream art world. Like their white counterparts, these artists have been referred to by a number of descriptive terms that seek to elucidate their personal experiences with art making or the religious beliefs that inspired the subject matter and the creation of their work.”

“Outside the Door” is the second thematic chapter in the “Represent” exhibition catalogue. It includes references to the works of self-taught African American artists, including Horace Pippin, Jacob Lawrence, Purvis Young, William Henry Johnson, Nellie Mae Rowe, Bill Traylor, Minnie Evans, and Sister Gertrude Morgan. Often depicting the common scenes and collective spirit of the times, creations by such artists were typically labeled “popular” or “folk” art. Curators and collectors considered these works “primitive” compared to the “high” or “fine” art of classically trained artists. Outsider artists continually pushed against the doors of elite art institutions influenced by academia and the politics of affluence. While many of these so-called “visionary” artists of the twentieth century have faded into obscurity, others like the painter Henri Rousseau of France and Edward Hicks of Bucks County, Pennsylvania, have broken through those doors and transcended labels to claim a much-deserved place in museums like the Philadelphia Museum of Art and in the dynamic legacy of African American art.

For the complete “Outside the Door” essay, other writings, and additional “Represent” art available only in the catalogue, pick up your copy in the Museum Store or our online store today.


Blind Singer,” c. 1939–40, by William Henry Johnson

Farm Scene with Cow and Man,” c. 1939–42, by Bill Traylor

The End of the War: Starting Home,” 1930–33, by Horace Pippin

Taboo,” 1963, by Jacob Lawrence (© Estate of Gwendolyn Knight Lawrence/Artists Rights Society [ARS], New York)